The playback device
for the set.

The case it was built for: a phone call between two actors shot on two days. On day one you record one side’s lines, on day two you play them to the other side. The sound comes the moment you press. Big buttons, no menus, no hunting around in the dark.

Hold the device in landscape and your script is on the left, the pads on the right. Tap a line, tap “Assign to button”, done. After that, tapping the marked passage plays the recording: you follow the script and press exactly where the cue is written.

One set per scene

The scenes sit side by side along the bottom, as many as the shooting day has. Swipe across the pads with two fingers to change sets. Two, so no button fires that you did not mean.

Names and colours, so you hit the right one in the dark. Press and hold a set tab to colour every pad of that scene, or hand the whole set over as a ZIP.

Six cues for scene 12. Two buttons still free.

Two seconds of dialogue, trimmed clean at both ends.

Trim the silence, find the spot

Press and hold a pad to open the waveform in full size. Set the playhead anywhere and listen from there. One tap on the scissors cuts the quiet off the start and the end, so the cue lands the moment you press.

A quietly spoken line can be lifted until it carries on set. The original file stays untouched and every trim can be undone.